Tag Archives: Bollinger

Champagne Mystery — Who makes Drake’s Mod Sélection? And will it be worth it?

Ace of Spades, part II?

Photo by The Come Up Show. Uploaded to Wikimedia Commons under CC-BY-2.0

Canadian rapper Drake and Brent Hocking (founder of DeLeón Tequila) are partnering to produce a new high-end Champagne called Mod Sélection. Right off the bat, the line-up will feature a $300 non-vintage Brut and a $400 NV Rosé.

That’s a hefty price tag for a Champagne house that is being created virtually out of thin air.

In comparison, consumers can pay $300-400 and get things like:

1996 Bollinger R.D. (Wine Searcher Average $328) aged ten years on the lees. Only 750 cases imported.

1996 Duval-Leroy Femme de Champagne (WS Ave $346) from 100% Grand Cru fruit that was aged 14 years on the lees. Only 1000 cases made.

Dom Perignon “P2” Brut, 2000 (WS Ave $351) aged 15 years on the lees.

Jacques Selosse Substance Blanc de Blancs Grand Cru Brut (WS Ave $312) from a solera that started in 1986. Usually only around 250 cases released at a time.

Pierre Peters L’Etonnant Monsieur Victor (WS Ave $301) from 100% Grand Cru fruit, including the best parcels of Les Chétillons, aged as a perpetual cuvee (similar to solera) that started in 1988. Only around 150 cases imported with each release.

And tons more great Champagnes for a heck of a lot cheaper.

Plus, these are all houses with established track records. We can figure out the grape source and know how long these wines have been aged. We can also get a general sense of how limited and prestigious these wines truly are. Yet, Drake and Hocking want folks to pay an equivalent price for Champagnes that no-one knows anything about?

Even Ace of Spades had a bit of a backstory.

Photo by Wallytraud. Uploaded to Wikimedia Commons under CC-BY-SA-4.0

From $60 to $300, not a bad business deal for Cattier.

Offended by comments by the CEO of his-then favorite Champagne house, Roederer, the American rapper Jay Z began promoting a brand called Armand de Brignac in 2006.

The gold plated bottle, now known as “Ace of Spades”, was made by the Champagne house Cattier. The Champagne was essentially a rebranding of their Antique Gold line which previously sold for around $60.

But once Jay Z got involved, including acquiring partial ownership of the brand in 2014, the price of the Champagne skyrocketed to around $300 for the basic non-vintage brut, $450 for the NV Rosé and approximately $600 for the NV Blanc de Blancs.

Yeah, you can see why Drake would want to follow suit.

But, again, consumers at least know about Cattier’s involvement. The brand is even prominently featured on their website.  Even though they’re a négociant-firm that purchases grapes, the Cattier family does own over 30 ha (74 acres) of vines in the Montagne de Reims including the notable premier cru Clos du Moulin in Chigny-Les-Roses. For their top cuvee from the Clos, the house only produces around 25,000 bottles.

In the Christie’s World Encyclopedia of Champagne & Sparkling Wine, Tom Stevenson & Master of Wine Essi Avellan offer some more details about Armand de Brignac (presumably provided by Cattier). They note that across all the Ace of Spades wines, only around 3200 cases are produced. They also mention that at least the NV Brut is aged for around four years on lees.

Photo by Jsatroc. Uploaded to Wikimedia Commons under CC-BY-SA-4.0

Jean-Jacques and Alexandre Cattier who continue to operate their brand in addition to making Jay Z’s “Ace of Spades.”

 

Another Champagne Mystery

Perhaps more details about Mod Sélection will eventually come out. But it is clear right now that its proprietors are purely marketing it based on its association with a celebrity rapper. Still, I’m always down for a good mystery (especially when Champagne is involved), so I decided to see what I could dig up.

Like with Armand de Brignac/Ace of Spades and Cattier, Drake and Hocking are probably partnering with an already established Champagne house. They’re not going to buy vineyards, start aging stock and truly create a brand from scratch.

With a NV Champagne needing a legal minimum of 15 months aging on the lees before release, it’s very likely that the initial release of Mod Sélection is going to be a Champagne that was originally harvested and aged to be labeled as something else. Probably a Champagne that was going to be sold for a much lower price.

That is a big reason why the identity of the house will likely be kept under wraps.  But can we still figure out who makes Drake’s Champagne?

On the Mod Sélection website, details are scarce. However, we do get two solid clues that slip through the marketing flourish.

1.) They’re based in the Vallée de la Marne.
2.) They claim “a legacy” dating back to 1892.

Cracking into some of my Five Essential Books On Champagne, I can eliminate a lot of prospective houses. The Christie’s Encyclopedia is, in particular, really good at noting the location of many houses so I can focus in only on the ones based in the Vallée de la Marne.

Clue #1 – The Vallée de la Marne

Photo by Pline. Uploaded to Wikimedia Commons under CC-BY-SA-3.0

Vineyards in the Grand Cru village of Aÿ–the most prestigious in the Vallée de la Marne.

This area is broken into three sub-regions. The most prestigious is the Grande Vallée de la Marne which is home to the Grand Cru village of Aÿ as well as several notable premier cru villages like Hautvillers, Cumières and Dizy.

The other two sub-regions are the Vallée de la Marne Rive Droite and Vallée de la Marne Rive Gauche (Right bank, Left Bank) which are home to autre cru villages that are ranked below premier cru.

Peter Liem’s book, Champagne, does an excellent job of explaining the differences between these sub-regions.

While it is possible that Mod Sélection’s mystery house is in one of the lesser Rive Droite or Rive Gauche villages, I’m going to give them the benefit of the doubt and focus on the houses in the nine villages of the Grande Vallée de la Marne.

Clue #2 – Founding date 1892

Photo by Arnaud 25. Uploaded to Wikimedia Commons under CC-BY-SA-4.0

Bollinger wouldn’t even give James Bond his own made up Champagne house. It’s not likely that they would partner with Drake and not use their own label.

We can rule out major Champagne houses based in the Vallée de la Marne like Deutz, Jacquesson, Bollinger, Philipponnat and Billecart-Salmon because they have little reason to create a branding apart from their own. Plus, their founding dates don’t match up with Deutz (1838), Jacquesson (1798), Bollinger (1829), Philipponnat (1910) and Billecart (1818).

This clue is going to require more heavy digging since many Champagne books don’t list founding dates and sometimes even a winery’s website isn’t very forthcoming with details. Still, we can gradually start to eliminate notable Champagne houses and well-regarded growers like:

Gaston Chiquet (founded 1919)
Gonet-Medeville (founded 2000)
A.R. Lenoble (founded 1920)
Mousse Fils (founded 1923)
Bereche & Fils (founded 1847)
Gatinois (founded 1921)
Marc Hebrart (founded 1964)
Laherte-Freres (founded 1889)
Georges Laval (founded 1971)
R. Pouillon & Fils (founded 1947)
Tarlant (founded 1928)

But eventually, with a little bit of online sleuthing, I was able to come across at least one estate that fits our bill.
Photo by 2005 Zubro. Uplaoded to Wikimedia Commons under CC-BY-SA-3.0

Vineyards in the premier cru village of Cumières in the Grande Vallée de la Marne. Is this the home of Drake’s $300+ Champagne?

Champagne Philippe Martin in Cumières. Founded 1892.  They produce around 12,000 to 80,000 bottles which range in price from 18 to 34 euros ($20-39 US dollars). While they apparently have a healthy enotourism operation, as far as I can tell, the wines of Champagne Philippe Martin have never been exported out of France.

This kinda aligns with the Mod Sélection description of partnering with a house whose “highly sought-after champagne had never been exported for sale to the general public.” Though you have to eye roll at the “highly sought-after” part.

Is this our mystery Mod Sélection house? Perhaps. There are still at least 30 other small growers that I need to investigate. But so far Champagne Philippe Martin is our most solid lead.

Will the Champagne be worth $300+?

I highly doubt it.

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Geek Notes — The Process of Champagne GuildSomm Podcast

Back in 2013, GuildSomm did a fantastic podcast with Frédéric Panaiotis (39:33) of the Champagne house Ruinart about how Champagne is made. They followed it up with another interview with Panaiotis this year on Champagne (44:54) that also featured Rodolphe Péters of Pierre Péters.

Guildsomm podcast screen

Both shows are chock-full of awesome behind-the-scenes insights about Champagne that are well worth listening to. I’m going to break down the 2013 episode here first and then devote another Geek Notes to the second interview.

But after doing multiple Geek Note reviews of various podcasts (like Grape Radio’s interview with Hubert de Boüard of Ch. Angélus, UK Wine Show episode with Ian D’Agata about Italian wine grapes, Wine For Normal People’s episode on Tuscan wine regions and I’ll Drink To That! interview with Greg Harrington on Washington wine), I realize that I should take a moment to explain the objective of these posts.

Highlighting Learning Tools That I Use

As I mentioned in my post SpitBucket on Social Media, the purpose of my Geek Notes features are to highlight valuable resources for wine students pursuing various certifications.

Wine podcasts are a big focus for me because I think they’re often extremely underutilized. It’s easy for wine students to bury their heads in books and create flash cards. But we shouldn’t discount that nearly a third of individuals are auditory learners. Furthermore, for the 65% who are visual learners, exposing ourselves to audio avenues helps reinforce the material that we’re learning.

However, most people are actually a mix of multiple learning styles so the best approach is to also incorporate kinesthetic (hands-on) learning as well.

This is essentially what I’m doing for myself with these Geek Note reviews of podcasts. I’m primarily a visual learner so I’m always diving into one wine book or another. But when I’m going deep on a topic, I supplement that book learning by listening to related podcasts.

When I come across a podcast with useful information, I go back to listen to it a second time. This time, I take notes. It’s like recording your class lectures back in college. You spend class time actually listening to the instructor and absorbing the material first without distracting scribbling and note taking. But then you solidify the material in your mind by going back to the recorded lecture for notes.

A little bit of a review element.

While I’ll include timestamps, I don’t really intend for these posts to be transcriptions. If I’m doing a review of a podcast, it’s because I feel that it is sincerely worth listening to. There will often be contextual tidbits and stories featured in these episodes that I won’t mention or fully address. You can get more out of these Geek Notes by checking out the podcasts for yourself after reading these posts.

For newer podcasts like my recent reviews of the Decanted podcast and the Weekly Wine Show, I’ll spend more time giving background about the podcast and why I think they’re worth subscribing to.

In many ways, great wine podcasts are like stellar reference books like The Oxford Companion to Wine, The World Atlas of Wine and The Wine Bible. They provide you with an entire library of wine knowledge that you can digest one entry at a time.

In the next Geek Notes, I’ll give a little background about GuildSomm but, right now, let’s dive right into their podcast interview with Frédéric Panaiotis on making Champagne.

Fun Things I Learned From This Podcast

Photo by Petitpeton. Uploaded to Wikimedia Commons under PD-self

Statue of Dom Thierry Ruinart (1657-1709) outside the Champagne house Ruinart in Reims.

(0:52) Prior to joining Ruinart, Frédéric Panaiotis also previously worked for Veuve Clicquot, the CIVC as well as the California sparkling wine producer Scharffenberger in the Anderson Valley of Mendocino.

(3:16) Historically, the CIVC used to set one general ban des vendanges for the region. This is the first day that grapes can be legally harvested. Now there are multiple ban des vendanges based not only on the village but also on the individual grape variety. And apparently rootstock in some cases too.

For instance, in the Grand Cru village of Mailly for the 2018 vintage they were allowed to start picking Pinot Meunier on August 25th. However, for Chardonnay and Pinot noir (which the village is most noted for), growers had to wait till August 27th.

I’m curious about the ban des vendanges for other grape varieties–Fromenteau/Pinot gris, Pinot blanc, Petite Meslier and Petite Arbanne. I couldn’t find the answer online but I’ll keep looking.

BTW, August start dates were historically unusual in Champagne but are now becoming much more commonplace. This recent 2018 vintage was the fifth year since 2003 to begin in August.

(5:45) You can get a special allowance from the CIVC to harvest earlier. According to Panaiotis, this may be needed if you are harvesting from a really young vineyard of 3 years or were hit by spring frost which drastically reduced yields. Apparently with less clusters to focus on, the vine will accelerate ripening.

That strikes me a bit curious because wouldn’t the same logic apply to old vines which also produce lower yields. Wouldn’t they also ripen faster? Need to research this more.

Harvest Brix and Ripeness
Photo by ADT Marne. Uploaded to Wikimedia Commons under CC-BY-SA-4.0

Chardonnay grapes harvested in the village of Vertus.

(6:21) Panaiotis notes that the Champenois usually aim to harvest grapes at around 10% potential alcohol which is about 18-19° Brix. Compare this to typical still wine production where producers want to harvest Chardonnay more at 20-23° Brix and Pinot noir around 25-27°. But, keep in mind, the secondary fermentation of Champagne (where sugar and yeast are added) adds more alcohol to the finish wine. Most Champagnes finish with an ABV in the 12-12.5% range.

(8:00) A big distinction that GuildSomm’s Geoff Kruth and Panaiotis note about Champagne is that even at these low brix levels, the grapes are still ripe. Panaiotis gives the example of the 1988 vintage which was picked at many estates at around 9.2% potential alcohol (17.5° Brix) in a year that was a late harvest for Champagne. This vintage is still highly regarded for its richness and longevity. Yet harvesting something at so low of a brix level in most any other wine region would produce wines abundant in green, unripe flavors.

This is a quandary that sparkling wine producers from warmer climates like California and Spain have to deal with because acidity is also at play. Not only is it hard to get desired ripeness with such low brix but you need to harvest your grapes with ample acidity. While improvements in viticulture and planting in cooler vineyard sites have helped, historically producers from warm regions have needed to harvest the grapes at lower ripeness levels in order to have enough acid to make their sparkling wines.

The Controversial 1996 Vintage

(8:55) In contrast to 1988, Panaiotis describes the 1996 as an “unripe” year even though the grapes were harvested at 10.5% potential alcohol (20° Brix). This is intriguing because there is a lot of controversy going on now about the 1996 vintage which Jancis Robinson aptly explains in one of her Financial Times articles.

When the 1996 Champagnes were first released, many Champagne lovers were enthralled. That year was pegged as one of the top vintages of the 20th century. I will admit that, even though I’ve been extremely underwhelmed by their recent offerings, the 1996 Dom Perignon was one of the greatest wines that I’ve tried in my lifetime. But I had that wine soon after release and it seems that as the 1996s across the board have aged, more and more people are re-evaluating how good that vintage really was.

Challenges of Big Houses
Photo by Alberto Vaccaro. Uploaded to Wikimedia Commons under CC-BY-2.0

By law, Champagne grapes have to be harvested whole cluster and by hand.

(9:20) Here Panaiotis talks about the challenges that big houses have versus small growers with harvest–particularly with red grapes like Pinot noir. Because the goal in Champagne most often with Pinot is to make a white wine, time is of the essence as soon as you remove the cluster from the vine. You don’t want any “cold soak” color extraction taking place in the pick bin. With Chardonnay, avoiding oxidation of the juice is also a concern for many houses.

But what do you do when you are a large house whose winery is maybe several miles away from the many vineyards you source from? Well worth listening to see how Ruinart responds to this challenge.

(10:30) Machine harvesting is forbidden in Champagne. Part of the reason is because machine harvesters can only harvest individual berries. They do this by using beater bars to separate the berries from clusters on the vine. If you’re curious, this short (2:18) ad video for a mechanical harvester gives a great inside view into how these harvesters work. Panaiotis thinks that even if someone developed a machine that could somehow harvest grapes whole cluster that it would still probably be outlawed.

Pressing Details
Photo by davitydave. Uploaded to Wikimedia commons under CC-BY-2.0

A modern bladder press.

(11:54) Panaiotis estimates that among the various presses used in Champagne, about half are modern bladder presses with the rest being the traditional Coquard basket press. Piper-Heidsieck has a quick 1 minute video of the Coquard press in action with Pinot noir. Note how the juice, even with the whole clusters, is already being tinted with color. And, yes, leaves and other MOG often gets thrown into these large batches.

(12:15) In Panaiotis’ opinion, 70-80% of the resulting quality of the wine comes from the pressing process. This is an interesting departure from the opinion that a lot of the quality of Champagne comes from the blending and time aging on the lees. From here he goes into a great description of the different cuts (cuvée and taille) that are separated in the pressing process. To explain this he uses a comparison that you can do in a vineyard while sampling a single grape berry.

(14:47) At Ruinart, Panaiotis likes using the taille for their non-vintage Champagnes. Here these cuts add roundness and fruitiness but there is a trade-off in decreased aging potential. In contrast, Ruinart’s vintage wines are almost all cuvée juice since the lower phenolics in this first cut is less prone to oxidation.

This makes me curious about the pressing philosophy of Champagne houses that value more oxidative styles like Krug.

Fermenting as separate lots or as regional blends

(16:10) When Kruth asks how Champagne producers keep the juice from different villages and vineyards separate, Panaiotis explains some of the logistical problems of that. While it is ideal to keep different villages separate, it may take you several days to receive enough lots from those villages to eventually fill an entire tank. That reality favors blending more regionally–like all the Côte des Blancs villages together.

I suspect this is more of an issue for large Champagne houses who presumably have very large tanks with several thousand liter capacities that need to be filled. Additionally, with so many contract growers there is probably a fair amount of variability in what kind of yield you can expect each year from different villages/vineyards, etc. In contrast, smaller growers who have been tending their own vines for generations probably know more precisely what they are getting and accordingly have smaller tanks that are easier to fill up and keep separate.

Another key point specific to Ruinart is that their house’s style is very reductive. If the tanks aren’t filled quickly, there is a risk of the juice oxidizing before fermentation takes off.

Style Differences

(17:14) At Ruinart, they aim for very clean and neutral flavors in their base wines. Along with wanting to avoid oxidation, they use sulfur on the juice to also knock back wild yeast so that they can inoculate with cultured yeast. Kruth notes that the impact of wild or native ferment produces flavors that get amplified during the secondary fermentation, something Panaiotis wants to avoid at Ruinart.

Lanson champagne

Lanson is another house that has historically avoided malolactic fermentation but has recently been experimenting with MLF on a few lots.

(19:30) Panaiotis likes the round mouthfeel that comes from initiating malolactic fermentation in the Champagnes of Ruinart. This is a stylistic decision relating to different Champagne house styles. Some producers, most notably Gosset, historically avoid malolactic fermentation so they can maintain natural acidity and aging potential. But the trade-off is mouthfeel and softness with even Gosset experimenting with having some batches going through MLF.

(20:24) A very interesting discussion on the different philosophy of using reserve wines in the blends of non-vintage Champagnes. Panaiotis describes the impact of using older versus young reserve wines on the resulting style of Champagne. He notes that Ruinart’s precise style favors using younger reserve wines while houses with a more mature style like Charles Heidsieck prefer using older reserve wines of up to 10 years of age.

Secondary Fermentation Issues

(24:18) Probably my biggest surprise was learning about the issues of calcium tartrates in Champagne. If wineries don’t remove these unstable tartrates via cold stabilization, there will be excessive foaming during disgorgement. Worst, this foaming could happen when the wine is opened by consumers–creating a mess. I always thought it was more about aesthetics with consumers mistaking the tartrate crystals for shards of glass.

(25:47) Another completely new thing I learned was that the actual length of time of the secondary fermentation is about 6 to 8 weeks. I always thought it was much quicker like primary fermentation which usually takes several days to a couple weeks. Panaiotis does note that as soon as 3 days after bottling you can start to see the dead lees collecting in the bottle.

(26:52) Panaiotis reveals that recent studies of the Champagne process is showing that oxygen intake through the crown cap or cork is just as impactful on the resulting flavor of the wine as autolysis is.

Oxidative vs Reductive
Bollinger Grande Annee

Bollinger Champagnes have been traditionally associated with an oxidative style of winemaking.

(28:22) Panaiotis goes into an in-depth discussion of oxidative versus reductive winemaking. He details many of the decisions that he has to make throughout the process to promote Ruinart’s reductive style including the unique technique of jetting. Here winemakers add a little bit of water or nitrogen (and sometimes sulfur) to the wine before corking to promote foaming that pushes out the oxygen. This short video (0:52) is in French but shows the process well.

(31:10) Kruth asks for example of major houses who follow the different styles. Panaiotis notes that along with Ruinart, Laurent Perrier, Mumm, Pierre Gimonnet, Pierre Moncuit and Pierre Peters are on the reductive side while Bollinger, Krug, Jacquesson and Jacques Selosse are on the oxidative side. He also notes that Pinot noir favors the more oxidative style. Interestingly, most of the houses he mentions that favor a reductive style tend to be Chardonnay dominant.

(37:40) Panaiotis notes that the CIVC legally limits how many grapes negociants can buy each year. While he didn’t seem completely certain, he estimates that the limit is a maximum of 30% above the equivalent of your previous year’s sales. I’m guessing the CIVC sets these rules to prevent stockpiling? But there is no law on the amount of land you can own. Another tidbit from Panaiotis, growers can buy up 5% of their grapes and still be considered a grower producer.

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Getting Geeky with the 2000 Krug Clos du Mesnil

Going to need more than 60 Seconds to geek out about the 2000 Krug Clos du Mesnil Blanc de Blancs Champagne from the Grand Cru village of Le Mesnil-sur-Oger.

Krug Clos du Mesnil

While Le Mesnil-sur-Oger is known for multiple outstanding wines like Salon, Pierre Peters’ Les Chètillons, Jacques Selosses’ Les Carelles, Pertois Moriset, Pierre Moncuit, Robert Moncuit, Gimonnet-Gonet, J. L. Vergnon and others, the Krug Clos du Mesnil stands apart as one of the most iconic bottles of Champagne. It also tends to be among the most expensive.

At the end of this post, I’ll let you know if I think it’s worth the money.

The Background

Krug was founded in 1843 by Johann-Joseph Krug. Tom Stevenson and Essi Avellan note in their Christie’s World Encyclopedia of Champagne & Sparkling Wine that Krug got his start working for Champagne Jacquesson beginning in 1834.

He eventually married the sister-in-law of Adolphe Jacquesson and rose to second in command of the Champagne house. But instead of staying, he ventured out on his own so that he could put into practice his philosophy of winemaking.

In 1969, his descendants sold the house to the French spirits company Remy-Cointreau but still maintained a vested interest in operations. In 1999, Remy-Cointreau sold it to LVMH (Moët Hennessy Louis Vuitton) where it is today part of a vast portfolio of wines that includes Moët & Chandon, Dom Pérignon, Ruinart, Veuve Clicquot and Mercier as well as Clos des Lambrays, Château d’Yquem and Château Cheval Blanc.

However, members of the Krug family are still involved in production with 6th generation Olivier Krug being part of the tasting panel that selects the final blends of all the wines.

While Krug only owns around 50 acre of vines (with 70% of their grapes provided by long-term contract growers & co-operatives), the Champagne house has been steadily converting all their estate vineyards (like Clos du Mesnil) to organic viticulture.

Unique Winemaking
Photo by Tomas er. Uploaded to Wikimedia Commons under CC-BY-SA-3.0

The courtyard of Krug’s production facility in Reims with empty oak barrels that have been used for the primary fermentation of their Champagnes.

Krug is notable for conducting the primary fermentation of all its cuvees in 205 liter oak barrels. Tyson Stelzer notes in his Champagne Guide 2018-2019 that Krug buys all of their barrels new and then keeps them for up to 50 years. Sourced from Seguin Moreau and Taransaud, the average age of the house’s 4000+ barrels is around 20 years.

When the new barrels arrive they are “seasoned” for 3 years with the juice from the second and third pressing. This wine never makes it into any Krug Champagne and is instead sold off for distillation. All together the wine spends only a few weeks in oak due to Krug’s preference for warm and fast fermentations that produce richer flavors. The wine is then transferred to stainless steel tanks.

Oxidative Style

Like Alfred Gratien, Charles Heidsieck, Selosse, Bernard Bremont, Vilmart and Bollinger, Krug is known for its oxidative style of winemaking with less SO2 used. This style tends to emphasize a more broader palate with rounder flavors compared to the reductive winemaking style of houses like Salon, Taittinger, Laurent Perrier, Franck Bonville, Ruinart and Dom Perignon.

While common for many oxidative-style Champagnes, malolactic fermentation is never intentionally induced at Krug. However, it is also not actively suppressed either so it will happen in some lots. But, in general, Krug Champagnes tend to have high levels of malic acid and low pH which contributes to the wines’ legendary longevity.

The non-vintage Grande Cuvée comprises the bulk of Krug’s 650,000 bottle production with vintage Champagnes like the Clos du Mesnil, Clos du Ambonnay and Brut Vintage making up only around 10% of the house’s Champagnes. This scarcity is a big reason for the Champagnes’ high price tags.

The Production Team

Since 1998, the chef de cave of Krug has been Eric Lebel. He was previously the winemaker at De Venoge where he made the notable 1996 Louis XV Tête de Cuvée. His assistant and heir apparent, Julie Cavil, now personally oversees the production of Clos du Mesnil. She has been with Krug since 2006, joining after previously working harvests at Moët & Chandon.

Krug Champagne display box

The display box that the Clos du Mesnil comes package in.

The 2000 vintage of the Clos du Mesnil spent more than 11 years aging on its lees. Krug only produces the wine in exceptional vintages with around 10,000 to 12,000 bottles made. I could not find the exact dosage for this wine but the house style of Krug tends to be on the lower side with an average of 6 g/l. Another trademark of Krug is to use reserves of the same base wine as part of the finished Champagne’s dosage.

The story of the 1999 Clos du Mesnil is an interesting one. Initially set for release after 12 years of aging on the lees, complete with labels printed, the production team of Krug decided at the last minute not to release the wine at all. Instead the wine was uncorked, the bottles destroyed, and the 1999 Clos du Mesnil blended away into other wines.

The Vineyard

Clos du Mesnil is a tiny 1.84 ha (4.55 acre) vineyard located in the heart of Le Mesnil-sur-Oger. A true clos, the vineyard is surrounded by walls that were erected in 1698. An inscription in the clos notes that vines were first planted around this time as well.

Photo by Tomas e. Uploaded to Wikimedia Commons under CC-BY-SA-3.0

The Clos du Mesnil vineyard is located practically in the middle of the Grand Cru village of Le Mesnil-sur-Oger.

In the late 19th century, the plot was owned by Clos Tarin whose winemaker was Marcel Guillaume, brother-in-law to Eugène-Aimé Salon. Intrigued by the Champagne business, Salon joined his brother-in-law at Clos Tarin. As he worked the vines of Clos du Mesnil with Guillaume, Salon was inspired to start his own house.

Krug purchased the Clos du Mesnil vineyard in 1971 with the fruit originally destined for use in the Grande Cuvée. The quality of the 1979 vintage inspired the house to do a dedicated bottling that year which was released in 1986. Peter Liem notes in his book Champagne that Krug’s foray into vineyard-designated Champagne was a game-charger for an industry that has historically focused on blending from multiple sites.

The vineyard is divided into 5 to 6 parcels. With varying vine ages and exposures, harvest usually takes place over multiple days with some vintages taking up to 10 days to complete. In the winery, the lots are further subdivided into around 19 different fermentation. The wine is constantly tasted during the aging process with some lots declassified into different bottlings of Krug or wines destined for other LVMH Champagnes.

Behind the Scenes at Clos du Mesnil

Krug’s YouTube channel has several “behind the scenes” videos including this one published in 2014 about Clos du Mesnil. Featuring enologist Julie Cavil, you get a great feel for the vineyard and how much it is like a tiny garden in the middle of the village. It is believed that the site’s urban location adds to the ripeness of Chardonnay in Clos du Mesnil with heat radiating off the nearby buildings onto the vines.

The short (less than 2 minutes) video below also gives some great insights about the 2000 vintage  as well. That year saw hail storms devastate Le Mesnil-sur-Oger though Clos du Mesnil was spared.

The Wine

High intensity nose. This wine smells like freshly harvested raw honeycomb. There is also a spicy ginger element along with a subtle smokiness. It reminds me of an aged botrytized wine like Sauternes. But not quite as sweet smelling. As the Champagne warmed up a bit in the glass, grilled pear notes emerged.

Photo by Merdal at Turkish Wikipedia. Uploaded to Wikimedia Commons under CC-BY-SA-3.0

The raw honeycomb note of this Champagne is very intriguing.

On the palate, the ginger and pear notes carry through and bring a citrus tang as well. The raw honeycomb is also present but takes on more of a baked element like honey shortbread cookies. Racy vibrant acidity makes this Champagne feel very youthful and contributes a streak of salty minerality. Very silky and creamy mousse. Long finish lingers on the smokey, spicy botrytized notes.

The Verdict — Is it worth the money?

Right now the 2000 Krug Clos du Mesnil averages around $994 a bottle with some vintages, like the 1996, topping over $1800.

I had the opportunity to try this bottle as part of the Archetype Tasting series conducted by Medium Plus. Founded by Seattle sommelier Nick Davis, this tasting group allows participants (usually 8 to 10 people) to split the cost of an iconic wine. For this event, attendees contributed $100 each towards the cost of the Krug Clos du Mesnil as well as bringing another fun bottle of Champagne to analyze in an educational setting.

The event was well worth the $100 ($200 with my wife attending) and the add-on bottles to taste the 2000 Krug Clos du Mesnil along with the 2006 Taittinger Comtes de Champagne, 2006 Perrier Jouet Belle Epoque, Frederic Savart ‘l’Ouverture’, Suenen Oiry Grand Cru Blanc de Blancs, Paul Bara and others Champagnes featured.

But would I spend around a $1000 to get another bottle or splurge for an older vintage?

Nope.

Taittinger Comtes de Champagne

The person who brought this Champagne got a screaming good deal getting this for around $100.

Now I will confess that I was recovering from a cold this evening so my tasting impressions were probably a little skewed. But even at less than 100% I found myself much more wowed by how delicious the 2006 Taittinger Comtes (WS Ave $136) was. While the 2004 Comtes Rosé I had earlier this year was a tad disappointing, this 2006 Blanc de Blancs from Taittinger was lively and intense with a long minerally finish that I can still taste.

Sure, I will put the 2000 Krug Clos du Mesnil ahead of it in terms of depth and complexity but I wouldn’t put it nearly 10x ahead. Likewise, the Savart L’Ouverture (WS Ave $47) was an absolutely scrumptious bottle just oozing with character.

I’ll be honest, when we had an opportunity to revisit the Champagnes later in the night, including more of the Clos du Mesnil, I let my wife (who really loved the Clos) get my extra pour so I could enjoy more of the Taittinger and Savart. Since I was the one driving home, I had to prioritize what wines I was going to savor and those were my picks.

If the Krug Clos du Mesnil was more in the $300-400 range, I could see myself wanting to give it another shot. It’s not a disappointing wine at all. But it’s hard to justify the cost especially when there are other wines even in the Krug stable (like their super solid Grande Cuvée at around $200) that can give me just as much pleasure for a better price.

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Bordeaux Futures 2017 — Langoa Barton, La Lagune, Barde-Haut, Branaire-Ducru

Photo By Bjørn Erik Pedersen - Own work, CC BY-SA 3.0,

Continuing our series on the 2017 Bordeaux Futures campaign, today we are looking at offers on the 3rd Growth St. Julien estate of Ch. Langoa-Barton, 3rd Growth Haut-Medoc estate Ch. La Lagune, the St. Emilion Grand Cru Classe estate of Ch. Barde-Haut and the 4th Growth St. Julien estate of Ch. Branaire-Ducru.

For previous installments of our series check out:

Bordeaux Futures 2017 — Palmer, Valandraud, Fombrauge, Haut-Batailley
Bordeaux Futures 2017 — Pape Clément, Ormes de Pez, Marquis d’Alesme, Malartic-Lagraviere

Be sure to subscribe to SpitBucket so you can stay up to date with new installments as more 2017 offers are released.

Langoa-Barton (St. Julien)

Some geekery:

This 3rd Growth estate has been in the Barton family’s hands since 1821. Its story began when Hugh Barton of the negociant firm Barton and Guestier purchased Ch. Pontet-Langlois and renamed the estate. A few years later he purchased part of the massive Leoville estate which would subsequently become the 2nd Growth Leoville-Barton.

With the no winemaking facilities, the wines of Leoville-Barton were (and still are) made at Ch. Langoa-Barton with the chateau featured on the label of Leoville-Barton actually being the manor house of Langoa-Barton.

Photo By Jamain - Own work, CC BY-SA 3.0,

The chateau of Langoa-Barton featured on the logo of Leoville-Barton.

Today the estate is managed by Anthony Barton and his daughter Lillian with 25 hectare of vines close to neighboring estates of 2nd Growths Leoville Poyferre and Ducru-Beaucaillou as well as the 4th Growth estate of Ch. Beychevelle. The vines are planted to a mix of 57% Cabernet Sauvignon, 34% Merlot and 9% Cabernet Franc with the percentage of Merlot increasing in recent years.

The winemaking style of Langoa-Barton is very traditional with fermentation taking place in large wooden-vats with the must co-inoculated with MLF bacteria to induce malolactic fermentation during primary fermentation. Around 7,500 cases a year are produced.

The 2017 is a blend of 54% Cabernet Sauvignon, 38% Merlot and 8% Cabernet Franc.

Critic scores:

92-94 James Suckling (JS), 92-94 Wine Enthusiast (WE), 90-93 Wine Spectator (WS), 90-93 Vinous Media/Antonio Galloni (VM/AG), 91-93 Jeff Leve (JL), 90-92 Jeb Dunnuck (JD)

Sample review:

There is no doubt that this offers a good expression of the appellation in the medium to long term, but there’s a slightly wider gap between Léoville and Langoa this year – the first time I’ve felt that in several years, and perhaps a reflection of the slightly cooler terroir here. It’s impressively structured and well held together, with black fruits which aren’t as concentrated as the estate has displayed in the previous two vintages, but it displays an innate St-Julien elegance. Drinking Window 2025-2038. — Jane Anson, Decanter (92 pts)

Wine Searcher 2017 Average: $46
JJ Buckley: $49.94 + shipping (no shipping if picked up at Oakland location)
Vinfolio: $50 + shipping
Spectrum Wine Auctions: No offers yet
Total Wine: $47.97 (no shipping with wines sent to local Total Wine store for pick up)
K & L: $48.99 + shipping (no shipping if picked up at 1 of 3 K & L locations in California)

Previous Vintages:

2016 — Wine Searcher Average $51 Average Critic Score: 91 pts
2015 — Wine Searcher Average $54 Average Critic Score: 92 pts
2014 — Wine Searcher Average $59 Average Critic Score: 92 pts
2013 — Wine Searcher Average $46 Average Critic Score: 89 pts

Buy or Pass?

Langoa-Barton was one of the estate that I thought really overachieved in 2014 and I’m grateful that I bought several bottles soon after release in the $48-50 range before the prices jumped. Compared to its sister estate, Leoville-Barton, I appreciate how approachable Langoa-Barton is at a relatively young age for an “old-school style” St. Julien that leans more towards the savory and cedary style.

The cooler nature of their terroir that Anson mention gives me some pause for this cool and frost-prone vintage. Like the 2014, I could take a wait and see approach to taste the 2017 in the bottle before buying in. If the price was north of $50, this would definitely be a pass but the impressiveness of the 2014 and compelling value is tilting me towards Buy–but only for a couple bottles at this point.

La Lagune (Haut-Medoc)

Some geekery:

Ch. La Lagune is noted for its classically style chateau that was designed in 1715 by Baron Victor Louis, the same architect who designed the Grand Theater of Bordeaux. During this time the estate was owned by the wealthy de Seze family that owned many properties throughout Bordeaux including what would eventually become the St. Emilion Premier Grand Cru Classe estate Ch. Troplong-Mondot.

Photo by PA. Released on Wikimedia Commons under CC-BY-SA-4.0

Ch. La Lagune

The estate fell on hard times in the early 20th century and was especially ravaged by World War II and the great frost of 1956. By the time George Brunette purchased the property in 1958 only 5 hectares of vines were in healthy production. Brunette started the estate on the path of revitalization that really took off when he sold it to the Ducellier family who owned the Champagne house Ayala.

Modern day La Lagune

In 2000, Ch. La Lagune and Ayala were sold to the Frey family who partially own Billecart-Salmon. The Freys subsequently sold Ayala to Bollinger, keeping La Lagune and also acquiring the Rhone estate Maison Paul Jaboulet Aine in Hermitage, Chateau de Corton Andre in the Cote de Beaune region of Burgundy and Chateau D’Arche in the Haut-Medoc commune of Ludon near La Lagune.

Today the estate is managed by Caroline Frey with around 20,000 cases a year produced.

One unique aspect of the winemaking, similar to the style of Ch. Haut-Brion, is that the final blend of each vintage is determined shortly after fermentation with the blended wine being put into the barrel for aging. In contrast, most estates wait till closer to the time of En Primeur in April following harvest to determine the blend and even then the varietal components may be kept separate throughout the aging process until closer to bottling.

The 2017 vintage is a blend of 70% Cabernet Sauvignon, 25% Merlot and 5% Petit Verdot. While many estates were hit hard by frost in 2017, causing a drop of around 40% in total production, Ch. La Lagune came out relatively unscathed with only a loss of 5% of their vineyards.

Critic scores:

90-92 VM, 89-90 JS, 88-90 Wine Advocate (WA), 88-90 JD

Sample review:

This has clear damson flesh to the fruit, a good plummy wine with an elegance and freshness to the tannins. It’s good, linear with a precision that you don’t find everywhere. This is still not quite at the 2015/16 level of completeness, but delivers from start to finish, and is a wine that should age well. It has a 2001 type of elegance and lift with a tension to the tannins that gives confidence in its ageing ability. Now certified organic, in conversion for biodynamics. — Jane Anson, Decanter (92 pts)

Wine Searcher 2017 Average: $45
JJ Buckley: No offers yet
Vinfolio: $50 + shipping
Spectrum Wine Auctions: No offers yet
Total Wine: $49.97
K & L: $49.99 + shipping

Previous Vintages:

2016 — Wine Searcher Average $51 Average Critic Score: 91 pts
2015 — Wine Searcher Average $55 Average Critic Score: 92 pts
2014 — Wine Searcher Average $51 Average Critic Score: 91 pts
2013 — Wine Searcher Average $49 Average Critic Score: 89 pts

Buy or Pass?

As I noted in my previous Bordeaux 2017 posts, the focus of my spending this campaign is on value and getting “cellar defenders” with wines that have a good track-record of delivering pleasure at younger ages.

While the La Lagune is offering decent value, I don’t have enough personal track record with the estate to pull the trigger. My previous experience with the estate has been with the stellar 2005 and 2009/2010 vintages. Those wines were certainly enjoyable and encouraged me to buy some more from 2015/2016. But my buying habits are much more cautious for vintages like 2017 so this will be a Pass for me.

Barde-Haut (St. Emilion)

Some geekery:
Photo by davitydave. Uploaded to Wikimedia Commons under CC-BY-2.0

Vineyards in St. Emilion.

Ch. Barde-Haut is a relatively young estates who fortunes changed dramatically when it was purchased by Sylviane Garcin-Cathiard in 2000. Today it is owned by her daughter, Hélène Garcin-Lévêque, who previously managed the Pessac-Leognan estates of Château Haut-Bergey and Ch. Banon (now ran by her brother Paul Garcin).

In addition to Barde-Haut, Garcin-Lévêque also owns the Pomerol estate Clos L’Eglise, Château D’Arce in Côtes de Castillon and a new project in St. Emilion near Valandraud called Poesia. Previously known as Chateau Haut Villet, the estate is named after the Garcin-Lévêque estate in the Mendoza region of Argentina.

While her husband Patrice oversees the viticulture, Hélène Garcin-Lévêque is in charge of the winemaking with Thomas Duclos consulting. Around 3,500 cases a year are produced.

The 16 hectares of vineyards are found mostly on the limestone plateau of St. Emilion by Troplong Mondot and Pavie Macquin as well as parcels near Ch. Fombrauge.

The 2017 is a blend of 80% Merlot and 20% Cabernet Franc.

Critic scores:

93-94 JS, 92-94 VM, 91-93 WA, 90-93 WS, 88-90 WE, 92-94 JD

Sample review:

Barde-Haut didn’t see any frost this year due to the altitude of the vineyards. Composed of 80% Merlot and 20% Cabernet Franc, the deep garnet-purple colored 2017 Barde-Haut gives notions of baked blackberries, blueberry compote and Black Forest cake with touches of potpourri, dusty soil and cast iron pan. The palate is medium to full-bodied with a firm frame of grainy tannins and great freshness, finishing long and minerally. — Lisa Perrotti-Brown, Wine Advocate

Wine Searcher 2017 Average: $38
JJ Buckley: No offers yet
Vinfolio: No offers yet
Spectrum Wine Auctions: $221.94 for 6 pack + shipping (no shipping if picked up at Tustin, CA location)
Total Wine: $37.97
K & L: $39.99 + shipping

Previous Vintages:

2016 — Wine Searcher Average $41 Average Critic Score: 90 pts
2015 — Wine Searcher Average $46 Average Critic Score: 91 pts
2014 — Wine Searcher Average $35 Average Critic Score: 90 pts
2013 — Wine Searcher Average $27 Average Critic Score:88 pts

Buy or Pass?

I think there are exciting things in-store with Ch. Barde-Haut and was thoroughly impressed with their 2015 which is drinking absolutely scrumptious now and probably could be commanding prices north of $50.

But, again, I’m feeling cautious with my wallet and my only “sub-par vintage” experience with this estate was a very underwhelming 2013 (which I can’t hold against any winery) and a 2014 that was super-tight and not fitting the mold of my ideal “cellar defender.” At this point, I’m more incline to Pass on this offer and buy up more of the 2015 before the prices start reflecting its very high quality level.

Branaire-Ducru (St. Julien)

Some geekery:
Photo by PA. Released on Wikimedia Commons under CC-BY-SA-4.0

Ch. Branaire-Ducru

This fourth growth estate has a long history dating back to 1600s when it was originally part of the large Beychevelle estate. The owner’s passing in 1680 lead to the break up of that vast estate. Jean-Baptiste Braneyre would go on to buy the parcels that eventually became Branaire-Ducru. Gustave Ducru added the “Ducru” part of the name when he acquired the property in 1875.

In 1988, Patrick Maroteaux purchased the estate and brought in Philippe Dhalluin to help modernize the winemaking. Dhalluin would go on to the revitalize the use of gravity-flow wine production at Branaire-Ducru.  He would later leave in 2004 to take over winemaking at the First Growth Pauilliac estate Ch. Mouton-Rothschild. Jean Dominique Videau succeeded him with Eric Boissenot consulting.

This was the last vintage of Patrick Maroteaux with him passing away just after harvest in November 2017. His son, François Xavier Maroteaux, has taken over the estate.

Branaire-Ducru covers 60 hectares in the southern portion of St. Julien with parcels in view of the Gironde next to neighboring 2nd Growth Ducru-Beaucaillou and 4th Growth Beychevelle. There are also parcels more inland near 3rd Growth Ch. Lagrange and 4th Growth Ch. Talbot. The winery produces around 25,000 cases a year.

The blend for the 2017 is 65% Cabernet Sauvignon, 24% Merlot, 6.5% Petit Verdot and 4.5% Cabernet Franc.

Critic scores:

91-94 VM, 92-93 JS, 91-93 WE, 90-93 WS, 88-90 WA, 90-92 JD

Sample review:

The 2017 Branaire-Ducru offers lovely depth and density. The characteristic dark red/purplish fruit character of Brainaire comes through beautifully. As always, Branaire is a wine of polish and finesse. Stylistically, the 2017 comes across as a smaller scaled and more accessible version of the 2015. — Antonio Galloni, Vinous

Wine Searcher 2017 Average: $49
JJ Buckley: No offers yet
Vinfolio: No offers yet
Spectrum Wine Auctions: $299.94 for 6 pack + shipping
Total Wine: $51.97
K & L: $51.99 + shipping

Previous Vintages:

2016 — Wine Searcher Average $58 Average Critic Score: 92 pts
2015 — Wine Searcher Average $62 Average Critic Score: 92 pts
2014 — Wine Searcher Average $51 Average Critic Score: 92 pts
2013 — Wine Searcher Average $49 Average Critic Score:89 pts

Buy or Pass?

This is one of my personal favorite estates that is virtually an automatic Buy for me every year. This wine always seems to vastly over-perform its price point and classification. Most years it drinks on par with a 2nd Growth. The 2009 vintage (with a Wine Searcher Average price of $92) is one of the best wines I’ve had from that vintage and has put several of its more expensive peers to shame.

With this wine priced in line with 2014, this was a no-brainer purchase for me.

More 2017 Bordeaux Futures Posts

Why I Buy Bordeaux Futures

*Bordeaux Futures 2017 — Pape Clément, Ormes de Pez, Marquis d’Alesme, Malartic-Lagraviere

*Bordeaux Futures 2017 — Lynch-Bages, d’Armailhac, Clerc-Milon and Duhart-Milon

*Bordeaux Futures 2017 — Clos de l’Oratoire, Monbousquet, Quinault l’Enclos, Fonplegade

*Bordeaux Futures 2017 — Cos d’Estournel, Les Pagodes des Cos, Phélan Ségur, Calon-Segur

*Bordeaux Futures 2017 — Clinet, Clos L’Eglise, L’Evangile, Nenin

  • Bordeaux Futures 2017 — Malescot-St.-Exupéry, Prieuré-Lichine, Lascombes, Cantenac-Brown

*Bordeaux Futures 2017 — Domaine de Chevalier, Larrivet Haut-Brion, Les Carmes Haut-Brion, Smith Haut Lafitte

*Bordeaux Futures 2017 — Beychevelle, Talbot, Clos du Marquis, Gloria

*Bordeaux Futures 2017 — Beau-Séjour Bécot, Canon-la-Gaffelière, Canon, La Dominique

*Bordeaux Futures 2017 — Carruades de Lafite, Pedesclaux, Pichon Lalande, Reserve de la Comtesse de Lalande

*Bordeaux Futures 2017 — Vieux Chateau Certan, La Conseillante, La Violette, L’Eglise Clinet

*Bordeaux Futures 2017 — Montrose, La Dame de Montrose, Cantemerle, d’Aiguilhe

*Bordeaux Futures 2017 — Clos Fourtet, Larcis Ducasse, Pavie Macquin, Beauséjour Duffau-Lagarrosse

*Bordeaux Futures 2017 — Kirwan, d’Issan, Brane-Cantenac, Giscours

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Beaver State Bubbly

I’m a bit of a bubble fiend. I love drinking sparkling wine. I love talking about it.

Easily at least half of the wine reviews I post here are about bubbles and when I get new sparkling related wine books like Bursting Bubbles, I eagerly devour them.

Living in the Pacific Northwest, I’ve watched with excitement the growth of the Oregon sparkling wine industry that Forbes.com contributor Joseph V. Micallef highlighted in a recent post.

The founding father of Oregon Bubbles is Rollin Soles who started Argyle Winery in Dundee in 1987. His venture had a lot of all-star firepower backing it with Australian winemaking legend Brian Croser (the 2004 Decanter Man of the Year) and Christian Bizot, then owner of the Champagne House Bollinger.

In 2001, Argyle became part of Lion Nathan corporation with their US branch spinning off in 2012 to become Distinguished Vineyards. Now Argyle is part of a portfolio of brands that includes MacRostie, Wither Hills and The Counselor. In 2013, Soles stepped away from the winery to focus on his brand ROCO that he founded with his wife, Corby Stonebraker-Soles.

While I’ve enjoyed Argyle since Soles left, I must confess that I haven’t been as wowed by the winery’s offerings in recent years. Part of it could be the increase in competition as wine shops have been bringing in more sub $25 Crémants from Alsace, Burgundy and the Loire that way over deliver on value. While years ago, Argyle’s basic brut at $20 stood out from the pack, now it is just middle of the road with even sparkling wines from New Mexico like Gruet and Jacqueline Leonne delivering delicious value in the under $15 category. Still, the 1998 Argyle Extended Triage remains one of my all time favorite wines.

But times change and winemakers move on, which is why I was very excited to try Soles’ new ‘RMS’ sparkling wine project at The Herbfarm’s holiday dinner series “The Holly & The Ivy”. While it didn’t reach the level of that 98 Extended Triage, the 2014 RMS Brut did remind me of all the things I missed about Argyle.

Not a bad way to start off a 9 course meal.


Around 66% Pinot noir with the remainder Chardonnay, the wine had high intensity aromatics of spiced pear wrapped in a toasty pastry crust. Those notes carried through to a creamy but powerful mouthfeel not that dissimilar to Charles Heidsieck. It also reminded me of Pol Roger where the weighty flavors are balanced by fresh citrus notes and racy minerality that give lift to the wine. An incredibly well-made sparkler that would probably continue to age even in the bottle under cork. It is certainly well worth the $65 winery price.

What Makes Oregon Bubbles Special?

In his Forbes post, Micallef quotes Tony Soter on how the “sweet spot” of Oregon’s cool-but-not-too-cool climate gives its an advantage over both warmer California and cooler Champagne.

“[In Oregon you have] … a generosity of fruit that is expressive of the grape varieties (Pinot Noir and Chardonnay) reaching a high level of maturity while still maintaining an admirable level of acidity, finesse and elegance critical to sparkling wine. [While] … in California, the weather is too warm, forcing a premature picking to minimize excessive alcohol at the expense of the nuance and delicacy of fully developed grapes.” — Tony Soter, as quoted on Forbes.com January 19th, 2018

Far from being an “Oregon-homer”, Soter’s opinion on the differences between Oregon and California’s terroir is backed by his 30 plus years of experience working at some of the best names in California wine like Chappellet, Araujo, Shafer, Spottswoode and Dalle Valle.

The stats on Oregon’s favorable “goldilocks position” also bares out according to Hugh Johnson and Jancis Robinson’s Wine Atlas. While Champagne sits along the 49th parallel and averages a daily growing season temperature of 58.4°F, Napa Valley (home of Schramsberg, Domaine Chandon, Mumm Napa, etc) sits on the 38th parallel averaging growing season temperatures of 66.8°F. The Willamette Valley is nestled right in the middle of that on the 45th parallel with average growing season temps of 60.6°F.

Photo by Hahn Family Wines. Released on Wikimedia Commons via Flickr under CC BY 2.0

In addition to losing acidity, if you wait too long to harvest your grapes in warm climates you risk “baking out” the more delicate and complex flavors. This produces over ripe and dried fruit notes that the French call ‘sur maturité’. For many California sparkling wine producers, its a Catch-22.

Harvests in California for sparkling wine regularly taking place in early August while in Oregon it doesn’t start till September. In Champagne, which wine authors like Robert Walters in Bursting Bubbles claim often harvest too early and too unripe, harvest typically begins late August and early September. Many high quality grower producers in Champagne harvest later into September.

The timing of harvest is key because you want ample acidity for sparkling wine production which you can risk losing if the grapes hang too long on the vine. But at the same time unripe grapes can give bland and uninteresting flavors. Tom Stevenson and Essi Avellan note in their Christie’s World Encyclopedia of Champagne & Sparkling Wine that having ripe grapes is absolutely essential for high quality sparkling wine.

Photo by Gary Halvorson, Oregon State Archives. Released on Wikimedia Commons under Oregon Historical County Records Guide public use

In the Willamette Valley, daytime highs in July in the low 80s (°F) can drop to the low 50s (°F) at night.

Like Washington State, Oregon also benefits from having drastic diurnal temperature variations during the growing season where temperatures can drop at night 30-40 degrees from day time highs, letting the vine literally “chill out” and retain fresh acidity.

This extends the growing season, allowing the grapes to hang longer on the vine, developing riper flavors while still maintaining that vital acidity.

Oregon Sparkling Wine Producers to Seek Out

Micallef notes that there is around 40 producers making sparkling wine in Oregon. While most of the production is small and limited to sales at the winery’s tasting room or wine club, there are some producers with ambitious aims.

One that is mentioned in the Forbes article is Radiant Sparkling Wine Company that was founded in McMinnville by Andrew Davis, a protege of Rollin Soles. After 8 years at Argyle, Davis founded his company to serve essentially as a mobile méthode champenoise facility, traveling to wineries with his sparkling wine equipment and technical know-how to help winemakers turn their base wines into bubbles.

Among the wineries that Davis has worked with includes Adelsheim, Anne Amie, Brooks, Ponzi, Raptor Ridge, Sokol Blosser, Stoller, Trisaetum and Willamette Valley Vineyards. In 2017, Davis helped create over 20,000 cases of Oregon sparkling wine to add to the 25,000 cases that Argyle produces yearly.

The Stoller rose sparkler more than held its own in a line-up of impressive bubbles.

One of these wines that I’ve recently had the opportunity to try was the Stoller 2014 Legacy LaRue’s Brut Rosé. The 25% Chardonnay and 75% Pinot noir base saw 10 months aging in neutral French oak before bottling and secondary fermentation. The wine spent 2 years on the lees prior to disgorgement with around 275 cases produced.

The LaRue rosé had a beautiful medium plus intensity nose of fresh cherry and strawberries. But what most intrigued me was the tinge of citrus blood orange that framed the red fruit notes. On the palate, the wine added another depth of flavor with some spicy and mineral notes.

I had this wine only about a couple weeks after I had the Louis Roederer 2011 Brut Rosé that I described in my post Cristal Clarity. We had another bottle of the Roederer rose opened with the Stoller and it was quite impressive how the Stoller showed in comparison. While it was more on the delicate and minerally side versus the fruitier Roederer, the Stoller clearly won out with much more vivid aromatics and longer finish that didn’t fade as fast as the Roederer. Considering that the Stoller LaRue is $65 while the Roederer is around $70 and you have some substantial value.

For a relatively young sparkling wine industry that just reached 30 years, the future looks exciting for wine geeks wanting to explore Oregon bubbles.

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